This isn’t so much of a review, more of a first-impressions-comparison. My experience with different 4×5, large format cameras is minimal, having bought an MPP Mark VIII a few years back and stuck with it. I’ve explored alternatives and considered changing, the potential of a focal plane shutter in a Graflex Speed Graphic or the light-weight body of an Intrepid but I could never bring myself to switch.

My subjects are mainly landscapes with the occasional portrait and although the MPP is technically a press camera it has worked out ok for me, it is heavy, the movements are stiff (or non-existent) but I can focus fine and it holds the lenses I am using.

The Chroma 4×5

For some reason all the other information on the screen seemed completely irrelevant, I just knew I needed a red camera.

Now, you might think this is ridiculous. And I suspect it is. But now it has arrived it makes perfect sense. Just. Look. At. It.

Chroma 4×5 review – Red or Dead

Testing the Chroma 4×5

In an ideal world, my first use would have been out in the field as this is where I’m used to shooting but I’ve been darkroom-bound the last week and so an impromptu still life was set up. One subject, one light and a RED Chroma.

The camera comes packed in it’s closed state and like all large format cameras of this type, requires a few steps to set up ready for use.

Loosening all the thumb screws (rubber, grooved and easy to turn) the rear standard folds up, followed by the front as you rotate the front standard. Easy.

The front snaps vertical thanks to a very satisfying magnet and on my first time setting it up, a treat was revealed: a pinhole lens board (0.4mm – f/255 at 90mm according to the info provided).

Here it is in action:

…and if you’re not a fan of the GIF (click/tap to zoom):

Chroma 4×5 review – Step 1: Closed

Chroma 4×5 review – Step 2: Stretch

Chroma 4×5 review – Step 3: Open

Chroma 4×5 review – Magnets are used in key locations around the frame of the Chroma

Chroma 4×5 review – Three separate spirit levels are embedded within the body – on the base, the front and rear standard

Chroma 4×5 review – Three positions to attach the front standard to allow a range of lenses to be used

Chroma 4×5 review – Lens board lock

Size comparison, movements and magnetism

I keep the lens on the MPP when transporting. It requires no setup, I just pull it out of my bag and I’m good to go. So, the unfolding and lens attachment of the Chroma 4×5 is new to me. The lens board is really easy to change, a hinged lever at the top of the front standard folds up to release the board (see the gallery above). Once the board is out, slide in a new one and fold the lever down. It locks into place with another satisfying magnet.

I’ll have to get used to this additional setup time but relative to the time taken for an average large format shot, it’s fairly irrelevant.

Chroma 4×5 review – Chroma vs MPP Mark VIII

Still on the subject of my MPP, folded down, the Chroma is a little smaller and weighs a little less (according to my arm-scales). When opened up, the Chroma allows for greater and more precise adjustments (movements) of the front and back standard. Each movement is independently controlled and I look forward to making the most of these in the field.

Chroma 4×5 review – Front standard

Chroma 4×5 review – Rear standard

The front standard has control over the usual suspects – rise/fall, tilt and shift – all with handy groove markers in the acrylic – the only thing missing is a marker or lock position for the left/right shift. It’s no biggie.

The adjustment knobs are all decent in size and very easy to lock/unlock. An absolute dream compared to the MPP which I only ever did a small and fairly uncontrollable, amount of tilt with.

The size of the adjustment knobs means that are very easy to locate while you’ve got one eye stuck to your loupe on the ground glass. I did experience a couple of them move slightly after locking, even though they felt tight, how much to tighten them is going to take a little getting used to.

Chroma 4×5 review – Rotating film holder orientation

The back of the Chroma detaches completely and can be rotated for either portrait or landscape shots. Guess what it’s held in place with?

Magnets. Satisfyingly strong magnets.

Good old ground glass

Chroma 4×5 review – Custom engraving

Chroma 4×5 review – Ground Glass

The ground glass is protected by a piece of acrylic during transport – and ‘cause I’m a sucker for customisation, I went for the engraved version. (Bonus internet points if you can name the movie quote without googling it)

The screen itself is fairly bright but a dark cloth is definitely needed until there’s a hood available. If I’m being picky, it would have been nice to have a grid.

The back is released by sliding two metals clips and space opens for a DDS (sheet film holder) to slide snugly in. The DDS is held in place by two “arms”. It felt a little tricky getting the DDS in the first few times, as it seemed to get stuck. A little wiggle and it soon went into place.

My first frame

And here it is, my first shot taken with my Chroma 4×5 and 210mm Sinaron S at f/5.6 (for those who care for such details). Technically it was my second frame, as I messed up the development on the first but in the spirit of “firsts”, here it is.

The front standard was tilted and shifted to try and get the focal plane running through the bottle front-back. It wasn’t quite enough at the bottom (you can see the plane intersecting the cloth in front of the bottle).

In conclusion

At a base price of £250 this is an incredibly affordable, well made and striking large format camera. I can’t wait to have the opportunity to get outdoors with it and try the pinhole lens board that shipped with it – something I’ve never done before.

Steve Lloyd is the man behind the Chroma, you can find out more info over at the official website and the Q&A. He now has the mammoth task of putting together all the Kickstarter orders. after which then I believe they will go on general sale.

And finally…

To top it all off, Steve has been prototyping some exciting additions for the magnetic-back design including panoramic 120 film, Instax and Wet plate backs (am I allowed to mention that?)

Write for EMULSIVE

The driving force behind EMULSIVE is knowledge transfer, specifically creating more of it in the film photography community. You can help by contributing your thoughts, work and ideas to inspire others reading these pages.

Lend your support

Like what you see here? You can support EMULSIVE by helping to contribute to the community voice on this website (see above), or by heading on over to the EMULSIVE Patreon page and adding financial support from as little as $2 a month.

UK photographer, shooting on film because I’m drawn to the pace, tangibility and aesthetics. B&W Landscape and documentary photography are what I generally pursue but always like to experiment with different subjects, films and processes.